As part of Facebook’s broader news strategy, company exec Campbell Brown announced at the Code Media conference that the social platform plans to introduce a breaking news feature to its video streaming platform Facebook Watch. The company launched Watch in August to compete in the original video space across mobile, TV apps and desktop. Content partners earn 55 percent of ad revenue and Facebook gets 45 percent. Watch is different than Facebook’s video tab in that it offers exclusive content, personalized recommendations, subscription options and more. Continue reading Facebook to Include Breaking News Section in Watch Platform

Popular streaming music service Spotify plans to take on radio and podcasts from Apple and others by introducing news and political coverage to its content offerings. Spotify’s new Spotlight feature will include programming from partners such as BuzzFeed and Refinery29. BuzzFeed, for example, will provide daily newscasts that run four to seven minutes in duration. Spotify’s 70 million users already have access to music and new video and podcast offerings; Spotlight will add news, politics, pop culture and sports coverage. The strategy could position Spotify as a competitor to YouTube and Apple. Continue reading Spotify Adds Content to Compete With Radio, YouTube, Apple

While facing increased competition from Amazon Prime, HBO Go, Hulu and others, Netflix revealed that its users collectively watched about one billion hours of content per week in 2017 (that’s more than 140 million hours per day). Despite being an impressive number, the average user may actually be watching less over time. Based on 109 million global subscribers, the math points to about 480 hours per account. According to TechCrunch, “at the end of 2015, Netflix announced that the 74.7 million users it had at the time had watched 42.5 billion hours of content that year. That suggests about 570 hours per year per account.” Continue reading Netflix Users Are Watching a Billion Hours of Video Per Week

According to Leichtman Research, Netflix has surpassed cable TV in number of total subscribers. Netflix recently reached 50.85 million subscribers, whereas U.S. cable companies presently have 48.61 million. “The numbers don’t count minor cable networks, which could in themselves amount to 5 percent of total cable customers,” explains Forbes. While Netflix has added 27 million subs in the last five years, cable subs are only down by 4 million, “not a massive drop off. It’s also worth bearing in mind that cable TV makes up only 50 percent of total TV viewership in pay TV.” Satellite TV presently has around 38 million subscribers. “In total there are 93,319,187 subscribers to cable, satellite and Internet streaming services in the U.S. Continue reading Netflix Doubles Subscription Base in 5 Years, Surpasses Cable

According to Variety, “Barry Diller’s IAC has outlined a new strategy for Vimeo to become a major new Netflix-style subscription video-on-demand player — but without spending the kind of dough that Netflix does on original content.” Joey Levin, IAC CEO and interim chief exec of Vimeo, introduced the new strategy during IAC’s Q3 earnings announcement, noting that the company plans to experiment with proprietary subscription services. He did not discuss launch dates or pricing. “Ultimately, our goal is for Vimeo to drive millions of subscriptions and transactions for our creators while also growing a proprietary subscriber base with millions of consumers directly,” wrote Levin. Continue reading Vimeo Plans to Become Next Major Subscription VOD Player

BitTorrent is debuting BitTorrent Live, a new live TV streaming app for the latest generation Apple TVs and computers, which offers live streams from 13 niche programmers. The goal is to build a virtual MVPD (multichannel video programming distributor), with more prominent cable networks. For now, the BitTorrent package is comprised of channels such as Clubbing TV, Filmbox Arthouse, FightBox, Newsmax TV, Heroes TV and TWiT. Although these aren’t well-known networks, the offering is free, unlike other TV streaming services. Continue reading BitTorrent Rolls Out New P2P-Based Live TV Streaming App

While federal regulators are closer to approving the Charter Communications acquisitions of both Time Warner Cable and Bright House Networks, the FCC and Justice Department have introduced conditions designed to protect streaming video companies and help provide affordable broadband services for low income households. The $71+ billion deal would make Charter the second-largest broadband service provider in the U.S. with about 19.4 million subscribers, and the nation’s third-largest cable TV provider with 17.4 million customers. Continue reading Regulators Set Conditions for Approval of Charter-TWC Deal

Warner Bros. has acquired streaming-video subscription service DramaFever from Japan’s SoftBank Group. DramaFever was launched in 2009 with a focus on Korean TV shows and eventually movies. Today, it reaches 20 countries and offers a wide range of series, films and kids programming available in multiple languages. WB may use the acquisition, expected to close during Q2 2016, to launch new OTT services such as a new offering with content from Machinima or an expanded subscription service with programming licensed from other countries. Continue reading Warner Bros. Buys DramaFever, Considers New OTT Services

Brendan Eich created JavaScript, the world’s most widely used programming language and co-founded Mozilla, the organization behind the Firefox browser that has become one of the most popular ways to navigate the Web. Now he’s back with Brave Software, a startup developing an open source browser for desktop and mobile that carves a middle path between excessive online advertising and antagonistic ad blockers. In his paradigm, advertisers, browser companies, websites and users stand to win. Continue reading Brave Browser Aims to Reinvent Online Advertising Paradigm

Netflix recently announced it would begin to block VPNs (virtual private networks), which consumers use to get around geographic-based content licensing restrictions. The company has turned a blind eye to VPN usage, but that was before it distributed its content globally, now live in 190 countries. Netflix has a reason to protect its content (especially its originals) and infrastructure investments, and it can’t offer all content to every country. But there’s another, just as potent reason for the move. Continue reading Netflix Cracking Down on VPNs, in a Push for Global Rights

In a multi-channel, multi-device and multi-platform world, any given network finds it increasingly difficult to differentiate itself from the others. Good programming isn’t enough when so many outlets are producing so many quality shows. This was the dilemma that panelists wrestled with in a conversation on “Hollywood Media: Platforms and Brands.” One clear message was that a younger generation doesn’t make distinctions among screens, as long as they are getting the content they want. Continue reading Media Networks Look at Platforms, Brands, Game-Changers

DirecTV has joined the ranks of those looking to bring more 4K content to consumers. During New York’s TranSPORT conference, DirecTV’s Phil Goswitz confirmed that the company plans to launch a live 4K broadcast service sometime early next year. He said live sports transmissions are currently being tested and DirecTV has the ability to transmit up to 50 new UHD channels. Goswitz explained that DirecTV is “moving into working with partners” for more 4K content. CBS, ESPN and Fox are among the networks that have also been experimenting with live 4K production. Continue reading DirecTV Planning to Debut Live 4K Broadcasting in Early 2016

Traditional TV networks are pulling out all stops to succeed with their non-traditional streaming platforms. CBS is launching a new “Star Trek” series in 2017, which will air exclusively on its CBS All Access app; HBO inked a deal with former “Daily Show” host Jon Stewart to create new content for HBO Now; and NBCUniversal is cranking out original series and specials for its Seeso comedy channel, due to launch in January. Meanwhile, Vice Media plans a 24/7-cable channel with A+E Networks. Continue reading Programming Free-for-All Favors Consumer Power of Choice

At The New York Times’ DealBook conference, Netflix chief executive Reed Hastings pointed to a broad, sustained growth of consumer spending on entertainment as proof that there is not enough television content currently available. Great content, he said, will find viewers. The bar for quality is rising, he noted further, and said Netflix is maintaining its high standards by working with other production companies. As an example, he pointed to “Narcos,” which was produced with French company Gaumont. Continue reading Netflix Chief Exec Tells Conference: “There’s Not Enough TV”

Cable networks tend to schedule advertising with a “more is more” approach. But the added revenue comes at a cost to marketers and viewers. Marketers worry that the resulting “ad clutter” obscures their message. Meanwhile, the proliferation of commercial-free, OTT content has shortened the average viewer’s commercial tolerance, especially among the ever-valuable millennial demographic. In a move that truTV sees as a way for advertisers to “rise above the noise,” the cable and satellite channel is planning to cut down ad time and increase each slot’s value. Continue reading TruTV Cuts Ad Time, Hopes to Increase Value for Advertisers

The Entertainment Technology Center at the University of Southern California (ETC@USC) is a think tank and research center that brings together senior executives, innovators, thought leaders, and catalysts from the entertainment, consumer electronics, technology, and services industries along with the academic resources of the University of Southern California to explore and to act upon topics and issues related to the creation, distribution, and consumption of entertainment content. As an organization within the USC School of Cinematic Arts, ETC helps drive collaborative projects among its member companies and engages with next generation consumers to understand the impact of emerging technology on all aspects of the entertainment industry, especially technology development and implementation, the creative process, business models, and future trends. ETC acts as a convener and accelerator for entertainment technology and commerce through: Research, Publications, Events, Collaborative Projects and Shared Exploratory Labs and Demonstrations.